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Deakin Research Online This is the published version: Baker, Janice 2003, John Campbell 1855-1924, Art Gallery of Western Australia, Perth, W. A.. Available from Deakin Research Online: http://hdl.handle.net/10536/DRO/DU:30048311 Reproduced with the kind permission of the copyright owner. Copyright : 2003, Art Gallery of Western Australia and the author r----1---~ E B E L t 855-1924 ·' ·.... ..' c;:·- ART GALLERY OF WESTERN AUSTRALIA 2003 THE PAINTINGS OF JOHN CAMPBELL ohn Campbell considered his main occupation to be 'sign civic buildings are all discernable. This attention to detail often 1 Jwriter' and 'decorator' • Though some of his paintings would extraneous to the central subject is a characteristic that undoubtedly have been paid commissions, he did not consider distinguishes his paintings from architectural or documentary his artistic work to be a lucrative sideline: 'Lucky to get ten bob studies. The equity of attention he accords the subject matter in for a picture', he is said to have remarked. 2 There is no record his paintings, shows he observed his locations closely. of him ever exhibiting or being involved with art societies. However, the watercolours and oil paintings he made at the The precise detail in Campbell's paintings provides valuable turn of the twentieth century are characterised by an attention historical documentation of the buildings and residences to architectural and human detail that imbues them with an depicted. Probably a paid commission, Campbell's oil painting authenticity that has resonance a hundred years later. of the residence of Sir Samuel Walker Griffith, Merthyr, Queensland cl890, is a pictorial memorial to this house, which Very little is known about Campbell's education, his training was demolished in 1950.8 Built on sixteen acres ofland in New or his life in Scotland, where he was born in 1855. 3 There is Farm, Brisbane, in 1879 by George Cowlishaw (1841- 191 3),9 some suggestion he may have lived in Tasmania when he first 'Merthyr' is depicted here a decade after it was built, came to Australia, though there are few clues as to exactly when surrounded by well-tended gardens that have been landscaped this might have been. From dates on his paintings it appears he in the European fashion with arches, paths and lawns. moved to Western Australia around 1900. He died in Perth in 1924.4 Griffith probably paid Campbell a fair commission for this painting. He was a successful man who was proud of his The few anecdotes about Campbell are intriguing - he was 'a achievements, and this picture provided a permanent record of fine pianist, though too poor to own a piano', 'a member of an his status in society. It is interesting to speculate on Campbell's 5 aristocratic Scottish family', 'Parramatta's first socialist' - but own position in life and his connection with property-owners such information has eluded verification. His paintings remain who may have been of Scottish descent. Perhaps he knew them as his legacy- and many of them have survived the vicissitudes through family connections? His father, James, was a lawyer 10 of time only through great good fortune. Some were stored in and maybe the hint of aristocratic blood opened a few doors. 11 damp garages and forgotten; one was rescued from a bin in a Or perhaps he worked for these men in his capacity as a sign Perth hotel and another exhumed from the back garden of a writer and they became aware of his artistic talent. house where it had been ignobly buried. The Golden West The eastern States When Campbell moved to Western Australia, he came alone Campbell's earliest located painting is dated 1889,6 when he to find employment and accommodation before his wife and was transient in the eastern States of Australia. This was a time son joined him. He had married Lucy Evans (born 1862) in of heightened nationalism in Australia, which led to federation Tasmania in 1883, and their son John was born in 1892. 12 A in 1901 . Landscapes of the Australian bush and its pioneers daughter, Florence, was born in 1902. Three other children - painted in an impressionistic European style by artists like Tom two sons and a daughter - died young.13 Roberts, Arthur Streeton and Frederick McCubbin reflected national sentiment and received acclaim. The iconic status The population of Perth doubled in the decade after accorded such paintings overlooked other work being produced Campbell arrived- from 44,000 in 1901 to 87,000 in 1911. 14 in a diverse range of genres and with a variety of subject matter Waves of 't' othersiders' migrated to the 'Golden West' to escape - portraits, stilllifes, domestic interiors, urban scenes, cartoons, the economic depression in eastern Australia which was less works with anecdotal and mythological content and severe in the West because of gold exploitation and expanding architecture. primary industries. Campbell's painting St Mary's Church, 1 Coolgardie 1905 \ the first Campbell's paintings of the prize for this church's raffle in 1890s, depicting churches, 1905, suggests he probably other substantial buildings and visited the Western Australian suburban scenes, are neither goldfields early in his stay in impressionist nor picturesque in the State. style. Rather they have a na·ive, quite stylised attention to small Campbell 's na·ive style of detail. In View from Petrie's depicting architectural and Garden 18907 he accurately human detail was unusual in depicts the lay of the land as Perth at the turn of the observed from a high vantage century. Most artists were point overlooking the suburbs influenced by British aesthetic ofBrisbane. Monuments, major ideas as promulgated by the roads and newly constructed West Australian Society of View from Petrie's Garden 1890 pen , wash and China white, 56.0 x 90 .0 em Collecti on john Oxley Li brary, State library of Queensland Cover image: john Campbe ll St Georges Terrace, looking west 1904 walercolour and pencil, 40.0 x 65.0 em Private Collection Arts, the Perth Technical College and prominent artist and foreground, a band of concentrated detail, and above this a vast teacher James WR Linton (1869-1947), whose 'interest was sky. Sometimes the sky will comprise half the picture. The principally in depicting nature through light . capturing a 'stage' and 'sky' are relatively devoid of detail, a compositional landscape flooded by light, in full sun or under cloud'. 16 device that focuses attention towards the complexiry of the mid Campbell was more concerned with depicting the impact of ground. This is not to say these 'empry' areas are without human achievement on the land. His selection of subject interest - indeed his skies are carefully observed, particularly in matter and meticulous observation of houses, pubs, breweries, the Western Australian paintings, and his foregrounds offer a churches, racecourses, streets and public transport reflect a sparse yet telling introduction to the central subject matter. sense of communiry pride in the development and expansion of Perth. Sign-writing requires information to be clear and discernible, and this characteristic is Western Australia has a apparent in his paintings. Sign history of 'boom and bust' writers, also called 'painters' at economic cycles related to the the time, were skilled artisans fluctuations of industrial and and the commercial advertisers resource-development activity. of the era. The range of their During boom periods life was work was diverse, as indicated heady, and the Shamrock Hotel by Perth sign-writer E. in Perth, immortalised 111 Bockelmann: 'I undertake all Campbell's oil painting kinds of house and church Shamrock Hotel in central Hay decoration. Banners painted 17 Street 1919 , was a symbol of and illuminated, ornamental such times. The pub was calicos, advertisements for land recalled as a 'perfect stock sales and festivities a exchange', with specialty.' 19 No doubt Shamrock Hotel in central Hay Street 19 19 Campbell, roo, would have shares bought and so ld, oil on board, 4 5 .8 em x 75 .8 em sight Private Collection painted an array of signage and land dealings completed, decoration. syndicates formed .. Who could possibly describe the scenes viewed from the He may have given private art classes ,Z0 and we know that he Shamrock balcony of an evening . the wild and sought painting commissions, as an advertising billboard in incredible influx of population .. people pouring into Perth Railway Station 190321 announces: the state in thousands. No rooms; care to sleep on the billiard table .. or under the table, or on the balcony For pictures ofresidences if yo u have a swag. 18 Commission Mr}. Campbell Scenic Artist, Perth. Campbell captures the charm and character of the Shamrock 22 Hotel, carefully observing its architectural features including In his 'picture of a residence' Stranraer 1909 , chimneys and spindly support pillars, balcony, tiled and arched frontage, and gables, corrugated roof, plaster ornaments, bull-nosed verandah elaborate lace fretwork. The detail extends inside the building, and fretted woodwork are meticulously observed. Above the with a view down the central corridor into the interior. There is front door of this Subiaco house is a mini turret announcing its a large sign across the entire frontage of the pub announcing its importance. It was built for Samuel Brown of 'Brown & Burn name and that of its proprietor. There are no people, yet there are signs of activiry, including an exquisitely detailed motor car and what appears to be an exhibition of paintings on the balcony. Tramlines run along the street. The composition of this painting is reminiscent of the way a stage set is constructed, with the street in the foregro und representing a stage and the hot~ l a backdrop with its doors accessing wings from which acto rs might enter.